{"product_id":"found-footage-magazine-issue-5-mars-2019","title":"#Issue 5 (Mars 2019)","description":"\u003cp style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cspan\u003eAuthor(s) \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eAndré Habib, Alice Michaud-Lapointe, Annaëlle Winand et Eric Falardeau, Louis Pelletier, Zachariah Anderson, Kamila Kuc, Matthew Levine, Scott MacDonald, Peter Gidal, Alejandro Bachmann, Jonathan Rosenbaum, César Ustarroz, Dan Browne, Louise Bourque, John Stezaker, María Cañas, Guy Maddin, Mimmo Rotella, Matthieu Bourel, Douglas Gordon, Mariana Freijomil, Eli Craven\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003eFormat \u003cstrong\u003e\u003cspan\u003emagazine\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003eYear\u003cstrong\u003e 2020\u003cbr\u003e\u003c\/strong\u003eLanguage(s)\u003cstrong\u003e English\u003cbr\u003e\u003c\/strong\u003ePages\u003cstrong\u003e 174 pages\u003c\/strong\u003e\u003c\/p\u003e\u003ch4 style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cstrong\u003e\u003cspan\u003eDescription\u003c\/span\u003e\u003c\/strong\u003e\u003c\/h4\u003e\u003cp style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003eFFM fills the void created by the fact that there has never, until now, been any forum for the collection and sharing of information, critical thinking and discussion on found footage cinema including all its manifestations: recycled cinema, essay film, collage film, compilation film, archival films, mash-up...\u003c\/p\u003e\u003cp style=\"text-align: start; ; white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003eFFM welcomes a selection of articles and sections intended to explore the ethical, political, formal questions and content related to the culture of recycled cinema: monographs, interdisciplinary essays, interviews and columns concerning the eclectic universe of found footage filmmaking.\u003c\/p\u003e\u003cp style=\"text-align: start; ; white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cu\u003e\u003cspan\u003eSummary\u003c\/span\u003e\u003c\/u\u003e:\u003c\/p\u003e\u003cp style=\"text-align: start; ; white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cem\u003e(In)appropriation: Dirty Movies and Second Hand Poetics,\u003c\/em\u003e \u003cspan\u003eby André Habib\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"text-align: start; ; white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cstrong\u003e\u003cu\u003eESSAYS DOSSIER\u003c\/u\u003e\u003c\/strong\u003e\u003cbr\u003eR\u003cem\u003e\u003cspan\u003eevisiting the Degraded\/Degrading Image : Subversive Decay, Parallel Legacies, and Re-Eroticization of the Pornographic Archive in The Color of Love by Peggy Ahwesh\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, by Alice Michaud-Lapointe\u003c\/span\u003e\u003cbr\u003e\u003cem\u003e\u003cspan\u003eTo Strip and to Tease: Archives and Concealment in Found Footage Pornography\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, by Annaëlle Winand et Éric Falardeau\u003c\/span\u003e\u003cbr\u003e\u003cem\u003e\u003cspan\u003eHidden in Plain Sight: Castle compilations and nudie films as lost intertexts for Bruce Conner's A MOVIE and MARILYN TIMES FIVE\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, by Louis Pelletier\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"text-align: start; ; white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cstrong\u003e\u003cu\u003e\u003cspan\u003eINTERVIEWS DOSSIER\u003c\/span\u003e\u003c\/u\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eInterview with Peggy Ahwesh\u003c\/em\u003e, \u003cspan\u003eby Alice Michaud-Lapointe\u003c\/span\u003e\u003cbr\u003e\u003cem\u003eInterview with Alexei Dmitriev\u003c\/em\u003e, \u003cspan\u003eby André Habib\u003c\/span\u003e\u003cbr\u003e\u003cem\u003eInterview with Yves-Marie Mahé\u003c\/em\u003e, \u003cspan\u003eby André Habib\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"text-align: start; ; white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cstrong\u003e\u003cu\u003e\u003cspan\u003eESSAYS\u003c\/span\u003e\u003c\/u\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003e\u003cspan\u003eIndictment and Possibility in Ken Jacobs' Star Spangled to Death\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, by Zachariah Anderson\u003c\/span\u003e\u003cbr\u003e\u003cem\u003e\u003cspan\u003eAesthetic Violence in the Anarchival Turn: On the Infinite Visions of History\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, by Kamila Kuc\u003c\/span\u003e\u003cbr\u003e\u003cem\u003e\u003cspan\u003eThere's a Crack in the World of Appearances: Thom Andersen's Slow Writing\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, by Matthew Levine.\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"text-align: start; ; white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cstrong\u003e\u003cu\u003e\u003cspan\u003eARTICLES \u0026amp; INTERVIEWS\u003c\/span\u003e\u003c\/u\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eInterview with Carlos Adriano\u003c\/em\u003e, \u003cspan\u003eby Scott MacDonald\u003c\/span\u003e\u003cbr\u003e\u003cem\u003eFound Footage: A (Little) Polemic\u003c\/em\u003e, \u003cspan\u003eby Peter Gidal\u003c\/span\u003e\u003cbr\u003e\u003cem\u003eConstellations are just Small White Dots in the Dark: A Conversation with Johann Lurf about his Work ★\u003c\/em\u003e, \u003cspan\u003eby Alejandro Bachmann\u003c\/span\u003e\u003cbr\u003e\u003cem\u003eThe Green Fog and the Maddin Mist\u003c\/em\u003e, \u003cspan\u003eby Jonathan Rosenbaum\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"text-align: start; ; white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cstrong\u003e\u003cu\u003e\u003cspan\u003eBOOK REVIEWS\u003c\/span\u003e\u003c\/u\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eArchiveology: Walter Benjamin and archival film practices\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, \u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003eby César Ustarroz - \u003c\/span\u003e\u003cstrong\u003eCatherine Russell. \u003c\/strong\u003e\u003cspan\u003eDuke University Press, 2018\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"p1\" style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cstrong\u003e\u003cspan\u003e· \u003c\/span\u003e\u003cem\u003e\u003cspan\u003ePaolo Gioli: The Man without a Movie Camera\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e,\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e by Matthew Levine - \u003c\/span\u003e\u003cstrong\u003eEdited by Alessandro Bordina and Antonio Somaini. \u003c\/strong\u003e\u003cspan\u003eMimesis International, 2014\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"p1\" style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cem\u003eTHE LOGISTICS OF SENSATION\u003c\/em\u003e, by Dan Browne\u003c\/p\u003e\u003cp class=\"p1\" style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cem\u003eDÉMONTAGE. Self Portrait Post Mortem\u003c\/em\u003e, by Louise Bourque\u003c\/p\u003e\u003cp style=\"text-align: start; ; white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cstrong\u003e\u003cu\u003e\u003cspan\u003eIMAGES\u003c\/span\u003e\u003c\/u\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp style=\"text-align: start; ; white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cspan\u003eJohn Stezaker, María Cañas, Guy Maddin, Mimmo Rotella, Matthieu Bourel, Douglas Gordon, Mariana Freijomil et Eli Craven.\u003c\/span\u003e\u003c\/p\u003e","brand":"Found Footage Magazine","offers":[{"title":"Default Title","offer_id":56788872790347,"sku":"SQ7175686","price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/3034\/9643\/files\/FFMagazine5.webp?v=1773411409","url":"https:\/\/re-voir.com\/en\/products\/found-footage-magazine-issue-5-mars-2019","provider":"Re:Voir","version":"1.0","type":"link"}